A Walk Without as performed by michaelch and grantl
Framed Overview What if you hopelessly follow someone only to be harshly shunned by that person? Rejected by God, Abraham continues to beg for his place by God. Soon, God attempts to drive off Abraham in any way God can think of. By analyzing excerpts from Genesis and paintings of the characters used in the dialogue, a newly uncovered light can shine upon the imaginary conversations created and voiced. Any necessary explanations follow in the form of the analysis of the created dialogue and of the painting and Genesis excerpts themselves.
Artist Renditions
Caravaggio
Michelangelo Merisi , often referred as Caravaggio, began a new period of realism, an act that would highlight him as the subject of much abuse from jealous artists and others unwilling to accept realism. Caravaggio developed his style during his persecution. Sacrifice d’Abraham is a greatly debated work of art because two different versions exist. Caravaggio may have painted both versions, but I chose to use the version in Florence for my analysis because the detail clearly emotes each character.
Rembrandt
Rembrandt Harmenszoon van Rijn , a famous Dutch artist, draftsman, and etcher, devoted his entire life to art. After mastering different art techniques, Rembrandt taught art while using accepting commissions for other art pieces. Rembrandt’s Sacrifice d’Abraham focuses much more on Abraham’s and the angel’s intentions; Abraham is drawn with details leading Abraham’s hesitation while the angel appears reprimanding and condescending.
Character Analysis Although he maintains his command over everything, God also condescends to people. God realized Man had gained wisdom from eating from the tree of the knowledge of good and evil when he asked whether or not he had “‘eaten from the tree [God] commanded [him] not to eat’” (Gen. 3.11) from. By saying the word “‘commanded’” to Man rather than another word such as ‘told’, he asserts his control over Man.
The control God demands grants him power over Man. The theme of control resonates again when God “rained on Sodom and Gomorrah sulfur and fire” (Gen. 19.24) to destroy the sinning cities. His power over mankind allows God to be the leader controlling his minions, mankind, presenting his motivation for creating and aiding the humans throughout Genesis.
Eventually, however, God takes the control one step further by presenting himself superior rather than a fair leader. In the painting “Sacrifice d’Abraham” by le Caravage, God, represented by an angel, descends to stop Abraham from killing his son Isaac. Though an easily overlooked detail, the leered eyes of the angel and lowered eyebrows show a sense of dominance and superiority over Abraham. The pointed finger towards the ram hovering above Isaac displays an attitude of disbelief that Abraham was unable to offer the presented ram instead of his son.
The condescending attitude God takes can be seen earlier when God “‘confuse[d] [mankind’s] language there, so that they [would] not understand one another’s speech’” (Gen. 11.7). This demand allowed God to remain in control and preserve his superior tone by preventing mankind from advancing towards his own status. The focus of power also redirects to God’s motivation of having control over followers.
Though Abraham remains passive about God’s commands when following through with the commands, his uncertainty prevents him from completing the orders wholeheartedly. Abraham “bound his son Isaac, and laid him on the altar, on top of the wood. Then Abraham reached out his hand and took the knife to kill his son” (Gen. 22.10), but he did not kill Isaac because God prevented him from sacrificing his son.
The word “kill” implies Abraham had no intention of sacrificingIsaac; his killing was only to appease God.Abraham’s refusal to stand up towards God almost cost him hisson’s life. Passiveness can be seen later through Hagar’s “‘running away from [her] mistress [Sarah]’” (Gen. 16.8). Hagar ran to escape the wrath of Sarah, similar to Abraham submitting to God to avoid his wrath. Abraham exhibits his uncertainty while hewas sacrificing Isaac.
The painting “Le Sacrifice d’Abraham” by Rembrandt also shows God as an angel saving Isaac from sacrifice. In the painting, Abraham seems uncertain about sacrificing his heir and son; the knife was held too far away to be sacrifice his son. Abraham also covers Isaac’s face, showing shame in sacrificing his own son. The humility and apprehension is visible when Israel willingly allows his son Benjamin to Egypt to buy grain and hopes that the seller, Joseph, would “‘send back [the] other brother and Benjamin’” (Gen. 43.14). Uncertainty plagued both Abraham and Israel as they saw their own sons be risked and under the control of God leading them both.
Script (cue cheerful music-end abruptly) Abraham: (weary) Now that I've done all you wanted, can I walk along side with you?
God: (sarcastic) Umm...No. Abraham: Why not? I did everything you wanted! God: (condescending) To walk along side me, you must be dead. And you are not. Nor shall you die yet.
Abraham: (questioning) Is death all it takes?
God: Umm...No. I also choose. And I have not chosen you yet.
Abraham: Well, who have you chosen so far?
God: Just your ancestors. But you, no. Not gonna happen.
Abraham: Well, what if I force you to?
God: You do not have the courage to. Abraham: (cue sad soft violin) Really? I have a knife right here. The same one you wanted me to use to sacrifice Isaac, remember? I almost killed him, too, my only true son, for you, and no gratitude?
God: No. (end staccato) None for you. I knew you would not slay your own son. Not even for me. Pathetic. Abraham: But-but-but-how could I?! You wanted me to be fruitful, yet you also wanted me to sacrifice my only son. I was remaining loyal to your wishes!
God: And you failed to follow my orders to kill your son.
Abraham: What was I supposed to do?
God: (nonchalantly) Kill him.
Abraham: But you stopped me!
God: I know.
Abraham: So how could I have killed him if you stopped me? God: (pause for a couple seconds) What is your point? Abraham: God, you're so hypocritical. God: (boost of anger, thunder) Do not use my name in vain! Abraham: I was talking to you, not actually-er-I never-but-um-nevermind. Are you or are you not going to allow me to walk along side you?
God: No. The answer is no. It is not your time yet.
Abraham: So I will? Great!
God: (jeeringly) I cannot tell you.
Abraham: Why not?
God: Because if I do, you will know as much about your future as me. And you will not. Because I know more.
Abraham: Where's the logic in that sentence? God: (angrier, louder thunder) I am God, the omnipotent creator of all in existence, including you. I don't need logic to control me. I AM logic. Abraham: Please tell me!
God: Please?
Abraham: What about now?
God: No.
Abraham: Now?
God: No.
Abraham: Now?
God: NO. Abraham: (silent at first, no sound) How about now? God: For the last time, NO!
Abraham: Fine. Will you tell me now?
God: You are pathetic.
Abraham: Yeah, I know. Now?
God: Just how desperate are you?
Abraham: Very. Now?
God: Well, maybe...
Abraham: Really?!?!?
God: No. Why in my name would I even consider telling you anything important?
Abraham: Because we made a covenant that day. Remember?
God: And that is important...how?
Abraham: You have to obey your promise. It's the whole basis of honor and respect.
God: I did; I did not allow Isaac to be sacrificed. And I have no honor or respect for you.
Abraham: (not noticing the last comment) You seem really upset.
God: GEE! Why would you think that? Abraham: (Naïve music-fade down during God's lines) Well, you just sound upset. What do you want to do now? Let me be with you? Or will you just How about tell me when I can be with you? God: (grinding though teeth) I want kill you, but then I would be stuck with you forever.
Abraham: That's a great idea!
God: No. That is a horrible idea.
Abraham: Then tell me when I can be with you.
God: No. That is still only for me to know and for you to wait until you die to find out.
Abraham: (pause) Now?
God: Desperate son of- (continue until cut-off) Abraham: (cut off before "a") Hey! My dog! Did you know she's pregnant again? God: (annoyed) Yes, I know.
Abraham: So, God, is there anything else I need to do to be with you?
God: Do not talk to me unless I address you.
Abraham: Ok-(cut off, but continue) God: (cut off before -ay) Also, call me "God, the Mighty Creator and Ruler of all that Exists" (even louder thunder) Abraham: Well, God, the Mighty Creator and Ruler of all that Exists, isn't that a little long and conceited?
God: Yes. So?
Abraham: Okay. Well God, the Mighty Creator and Ruler of all that Exists, I do I really need to call you that to be able to walk with you?
God: Yes.
Abraham: Okay. Is that all?
God: No, there is more. But I shall not tell you. Not until you are about to die.
Abraham: Why?
God: So you can see what you should have done, yet think you might still be with me because you didn't know.
Abraham: Okay...can you tell me now?
God: Just leave. You're too pathetic for me.
Abraham: What if I don't want to?
God: Leave. Abraham: (Suspenseful theme) No. God: Please leave, or I will kill you.
Abraham: Great!
God: No, I will kill everyone in your family but you.
Abraham: Fine. Then I will wed again and restart.
God: Then I will kill everyone in this are except you.
Abraham: Then I will go find a wife somewhere else.
God: Then I will kill everyone in the world but you.
Abraham: I think you made the primates genetically similar to humans. I'm sure one of them will do.
God: Alright. If you do not leave me right now, I will leave this wonderful earth behind, letting it rot and wither away into nothingness, because of PATHETIC you. Abraham: Fine! Such a god machine you put at the end of this conversation. Hmph! (end on staccato note)
Script and Trait Analysis Abraham wears down God until God forces Abraham away. Abraham completely accepts any means for him to attain his goal of being with God; Abraham constantly returns to the idea that “‘death [is] all it takes’” to be with God. Abraham’s willingness to sacrifice his life to be with God is driven by over-enthusiasm and desperation.
Abraham’s seemingly endless asking when he would walk with God prompts God to ask Abraham “’[j]ust how desperate’” Abraham is. Abraham admits his own desperation, but he continues to nag God in hopes that God would relent and allow Abraham to be with him.
The voice acting easily changes the meaning as well. I constantly pushed Abraham’s voice over the edge to create a sense of over-enthusiasm and desperation.The innocent-like dialect I was hoping to achieve when I recorded the audio also helps present Abraham as an immature figure, supporting his over-enthusiasm and desperation over what he cannot have.
I also tried to exaggerate the mood and over-enthusiasm with the background music; the sad music’s audible level remained high enough for the listener to conjure up emotions that amplify the voice acting.
Mirror Reflection of the Past
I am extremely satisfied with the voice acting and audio. Grant’s condescending voice became a little more sarcastic after deepening it, adding another aspect to God’s superiority. Voicing Abraham was awkward because I had to listen to myself when I edited the audio, but the results pleased me tremendously. I improvised then recorded the background music to match the script the best I could.
Writing the script proved to be an interesting opportunity to explore dialogue. Analyzing the script, however, challenged me since everything makes sense to me because I am the writer. I would definitely enjoy creating another project similar to this, but I would prefer being the writer and audio editor to being the analyzer.
Works Cited
Coogan, Michael D. The New Oxford Annotated Bible. Oxford University Press, Inc. New York, 2007.
A Walk Without as performed by michaelch and grantl
Framed OverviewWhat if you hopelessly follow someone only to be harshly shunned by that person? Rejected by God, Abraham continues to beg for his place by God. Soon, God attempts to drive off Abraham in any way God can think of. By analyzing excerpts from Genesis and paintings of the characters used in the dialogue, a newly uncovered light can shine upon the imaginary conversations created and voiced. Any necessary explanations follow in the form of the analysis of the created dialogue and of the painting and Genesis excerpts themselves.
Artist Renditions
Character Analysis
Although he maintains his command over everything, God also condescends to people. God realized Man had gained wisdom from eating from the tree of the knowledge of good and evil when he asked whether or not he had “‘eaten from the tree [God] commanded [him] not to eat’” (Gen. 3.11) from. By saying the word “‘commanded’” to Man rather than another word such as ‘told’, he asserts his control over Man.
Eventually, however, God takes the control one step further by presenting himself superior rather than a fair leader. In the painting “Sacrifice d’Abraham” by le Caravage, God, represented by an angel, descends to stop Abraham from killing his son Isaac. Though an easily overlooked detail, the leered eyes of the angel and lowered eyebrows show a sense of dominance and superiority over Abraham. The pointed finger towards the ram hovering above Isaac displays an attitude of disbelief that Abraham was unable to offer the presented ram instead of his son.
The condescending attitude God takes can be seen earlier when God “‘confuse[d] [mankind’s] language there, so that they [would] not understand one another’s speech’” (Gen. 11.7). This demand allowed God to remain in control and preserve his superior tone by preventing mankind from advancing towards his own status. The focus of power also redirects to God’s motivation of having control over followers.
Though Abraham remains passive about God’s commands when following through with the commands, his uncertainty prevents him from completing the orders wholeheartedly. Abraham “bound his son Isaac, and laid him on the altar, on top of the wood. Then Abraham reached out his hand and took the knife to kill his son” (Gen. 22.10), but he did not kill Isaac because God prevented him from sacrificing his son.
The word “kill” implies Abraham had no intention of
The painting “Le Sacrifice d’Abraham” by Rembrandt also shows God as an angel saving Isaac from sacrifice. In the painting, Abraham seems uncertain about sacrificing his heir and son; the knife was held too far away to be sacrifice his son. Abraham also covers Isaac’s face, showing shame in sacrificing his own son. The humility and apprehension is visible when Israel willingly allows his son Benjamin to Egypt to buy grain and hopes that the seller, Joseph, would “‘send back [the] other brother and Benjamin’” (Gen. 43.14). Uncertainty plagued both Abraham and Israel as they saw their own sons be risked and under the control of God leading them both.
Script
(cue cheerful music-end abruptly)
Abraham: (weary) Now that I've done all you wanted, can I walk along side with you?
God: (sarcastic) Umm...No.
Abraham: Why not? I did everything you wanted!
God: (condescending) To walk along side me, you must be dead. And you are not. Nor shall you die yet.
Abraham: (questioning) Is death all it takes?
God: Umm...No. I also choose. And I have not chosen you yet.
Abraham: Well, who have you chosen so far?
God: Just your ancestors. But you, no. Not gonna happen.
Abraham: Well, what if I force you to?
God: You do not have the courage to.
Abraham: (cue sad soft violin) Really? I have a knife right here. The same one you wanted me to use to sacrifice Isaac, remember? I almost killed him, too, my only true son, for you, and no gratitude?
God: No. (end staccato) None for you. I knew you would not slay your own son. Not even for me. Pathetic.
Abraham: But-but-but-how could I?! You wanted me to be fruitful, yet you also wanted me to sacrifice my only son. I was remaining loyal to your wishes!
God: And you failed to follow my orders to kill your son.
Abraham: What was I supposed to do?
God: (nonchalantly) Kill him.
Abraham: But you stopped me!
God: I know.
Abraham: So how could I have killed him if you stopped me?
God: (pause for a couple seconds) What is your point?
Abraham: God, you're so hypocritical.
God: (boost of anger, thunder) Do not use my name in vain!
Abraham: I was talking to you, not actually-er-I never-but-um-nevermind. Are you or are you not going to allow me to walk along side you?
God: No. The answer is no. It is not your time yet.
Abraham: So I will? Great!
God: (jeeringly) I cannot tell you.
Abraham: Why not?
God: Because if I do, you will know as much about your future as me. And you will not. Because I know more.
Abraham: Where's the logic in that sentence?
God: (angrier, louder thunder) I am God, the omnipotent creator of all in existence, including you. I don't need logic to control me. I AM logic.
Abraham: Please tell me!
God: Please?
Abraham: What about now?
God: No.
Abraham: Now?
God: No.
Abraham: Now?
God: NO.
Abraham: (silent at first, no sound) How about now?
God: For the last time, NO!
Abraham: Fine. Will you tell me now?
God: You are pathetic.
Abraham: Yeah, I know. Now?
God: Just how desperate are you?
Abraham: Very. Now?
God: Well, maybe...
Abraham: Really?!?!?
God: No. Why in my name would I even consider telling you anything important?
Abraham: Because we made a covenant that day. Remember?
God: And that is important...how?
Abraham: You have to obey your promise. It's the whole basis of honor and respect.
God: I did; I did not allow Isaac to be sacrificed. And I have no honor or respect for you.
Abraham: (not noticing the last comment) You seem really upset.
God: GEE! Why would you think that?
Abraham: (Naïve music-fade down during God's lines) Well, you just sound upset. What do you want to do now? Let me be with you? Or will you just How about tell me when I can be with you?
God: (grinding though teeth) I want kill you, but then I would be stuck with you forever.
Abraham: That's a great idea!
God: No. That is a horrible idea.
Abraham: Then tell me when I can be with you.
God: No. That is still only for me to know and for you to wait until you die to find out.
Abraham: (pause) Now?
God: Desperate son of- (continue until cut-off)
Abraham: (cut off before "a") Hey! My dog! Did you know she's pregnant again?
God: (annoyed) Yes, I know.
Abraham: So, God, is there anything else I need to do to be with you?
God: Do not talk to me unless I address you.
Abraham: Ok-(cut off, but continue)
God: (cut off before -ay) Also, call me "God, the Mighty Creator and Ruler of all that Exists" (even louder thunder)
Abraham: Well, God, the Mighty Creator and Ruler of all that Exists, isn't that a little long and conceited?
God: Yes. So?
Abraham: Okay. Well God, the Mighty Creator and Ruler of all that Exists, I do I really need to call you that to be able to walk with you?
God: Yes.
Abraham: Okay. Is that all?
God: No, there is more. But I shall not tell you. Not until you are about to die.
Abraham: Why?
God: So you can see what you should have done, yet think you might still be with me because you didn't know.
Abraham: Okay...can you tell me now?
God: Just leave. You're too pathetic for me.
Abraham: What if I don't want to?
God: Leave.
Abraham: (Suspenseful theme) No.
God: Please leave, or I will kill you.
Abraham: Great!
God: No, I will kill everyone in your family but you.
Abraham: Fine. Then I will wed again and restart.
God: Then I will kill everyone in this are except you.
Abraham: Then I will go find a wife somewhere else.
God: Then I will kill everyone in the world but you.
Abraham: I think you made the primates genetically similar to humans. I'm sure one of them will do.
God: Alright. If you do not leave me right now, I will leave this wonderful earth behind, letting it rot and wither away into nothingness, because of PATHETIC you.
Abraham: Fine! Such a god machine you put at the end of this conversation. Hmph! (end on staccato note)
Script and Trait Analysis
Abraham wears down God until God forces Abraham away. Abraham completely accepts any means for him to attain his goal of being with God; Abraham constantly returns to the idea that “‘death [is] all it takes’” to be with God. Abraham’s willingness to sacrifice his life to be with God is driven by over-enthusiasm and desperation.
Abraham’s seemingly endless asking when he would walk with God prompts God to ask Abraham “’[j]ust how desperate’” Abraham is. Abraham admits his own desperation, but he continues to nag God in hopes that God would relent and allow Abraham to be with him.
The voice acting easily changes the meaning as well. I constantly pushed Abraham’s voice over the edge to create a sense of over-enthusiasm and desperation.The innocent-like dialect I was hoping to achieve when I recorded the audio also helps present Abraham as an immature figure, supporting his over-enthusiasm and desperation over what he cannot have.
I also tried to exaggerate the mood and over-enthusiasm with the background music; the sad music’s audible level remained high enough for the listener to conjure up emotions that amplify the voice acting.
Mirror Reflection of the Past
I am extremely satisfied with the voice acting and audio. Grant’s condescending voice became a little more sarcastic after deepening it, adding another aspect to God’s superiority. Voicing Abraham was awkward because I had to listen to myself when I edited the audio, but the results pleased me tremendously. I improvised then recorded the background music to match the script the best I could.
Writing the script proved to be an interesting opportunity to explore dialogue. Analyzing the script, however, challenged me since everything makes sense to me because I am the writer. I would definitely enjoy creating another project similar to this, but I would prefer being the writer and audio editor to being the analyzer.
Works Cited
Coogan, Michael D. The New Oxford Annotated Bible. Oxford University Press, Inc. New York, 2007.
images:
Merisi, Michelangelo. Sacrifice d'Abraham. 1603. Galerie des Offices, Florence. <http://www.med.univ-angers.fr/discipline/pedopsy/ASE/parentalite/caravaggio%20rembrandt%20abraham.htm> 19 May 2010.
Harmenszoon van Rijn, Rembrandt. Le Sacrifice d'Abraham. 1635. Musee de l'Hermitage, St. Petersbourg. <http://www.med.univ-angers.fr/discipline/pedopsy/ASE/parentalite/caravaggio%20rembrandt%20abraham.htm> 19 May 2010.
Eastlake, Charles Locke. Hagar and Ishmael. 1830. <http://www.bible-art.info/Hagar.htm> 18 May 2010.
Martin, John. The Destruction of Sodom and Gohmorrah. Laing Art Gallery. Newcastle Upon Tyne. <http://www.oceansbridge.com/oil-paintings/product/45658/thedestructionofsodomandgomorrah> 19 May 2010.
<http://www.bbc.co.uk/blogs/ni/2008/10/god_is_denied_his_day_in_court.html> 19 May 2010.